Review by Stephen Dubois

Buffalo had a world premiere tonight at the Compass Performing Arts Center: The Laughing Troll Cafe by Scott Elmegreen and Drew Fornarola presented by Buffalo United Artists and directed by Mike Doben.  

Cancel culture has become a part of the fabric of society.  We see our famous heroes and heroines taken down swiftly and decisively – often from just one off-kilter comment, post, action or verbal outburst.  As a Gen X’er, little offends me too deeply…although I do get offended when Gen Z or Gen Alpha calls me a “boomer” – Gen X is truly the forgotten generation.  But I can certainly agree that there is a point where personal opinions, freedom of speech or just basic human ignorance can cross that line and build a high fence in its place making backpedaling impossible.  This play takes a more farcical standpoint and asks “what if it is the fictional characters themselves that have to intervene and make a final stand to ensure their very survival before their author hangs herself on the rope of cancellation?”  Immediately we see it is J.K. Rowling, her nasty transphobia and her wizarding characters: Harry, Hermione and Ron at the center of the satire. And in this well-dressed cafe set, these characters say “enough is enough” and all plead their cases hoping to find middle ground with their flawed creator.  At least that was their plan.  What ensues is an unraveling of best intentions where Rowling has equal time to share her life experiences and how they shaped her unpopular opinions.  It soon becomes clear that Rowling, in a riveting performance by Caitlin Coleman, will not admit fault…and even continues to post more divisive rhetoric to spite her characters.  Hermione, portrayed as steadfast and strong-willed, by Sabrina Kahwaty Garcia, seems to believe that she has the ultimate say in her own destiny, but Rowling reminds her that her character is a self-portrait of Rowling…the one J.K. wishes she could be herself.  Ron, portrayed as a lovable stoner who has lost direction, by Samuel Fesmire, and Harry, portrayed as a neurotic alcoholic, by Sandra Roberts, feels he cannot live up to the lofty expectations of his character, and both are the first to admit their defeat in transforming Rowling either through words or actions.  The play is a witty, often humorous and brisk conversation on the act of conversation but, more importantly, the art of listening.  And when neither side is listening there can be no movement forward.  

The scenic design was filled with subtle themes of the inclusive world Rowling created in fiction but fails to support in real life.  The tip jar has both Pride and Transgender support flags, a small sign stated All Gender Restroom with an arrow offstage.  And there were exciting moments where special lighting, fog and sound effects brought the wizarding world to life.

I had an opportunity to speak with the writers after the play.  They told me that “nothing creates more drama than an impossible situation where there is no solution.”  And they are right on that.  The play forces us to ask “when does something become ‘too much’ or ‘too far’ to forgive?  And at what cost?”  At the 2026 Shea’s Broadway Season announcement, the audience cheered enthusiastically with the reveal of Harry Potter and Cursed Child which means that the real-life Rowling herself has been able to at least tread water in the ocean of cancel culture…but the world is watching closely and hoping she can peer into her own soul and find redemption someday.  And perhaps the Rowling character takes some baby steps towards just that…thus ending the play on a hopeful note.  

The Laughing Troll Cafe runs a brief 85-minutes and is playing through April 25.  Tickets and information can be found at buffalounitedartists.org.